French’s International Copyrighted (in England, her Colonies, and 
the United States) Edition of the Works of the Best Authors 


ps 1066 No. 326 

.63 L5 -- 

J 916 LIZA ANN 

Copy 1 


A iEanm Drama in (Khtr Art 

(15 Scenes) 


BY 

CHARLES BARNARD 


Copyright, 1916. by SAMUEL FRENCH 


NOTICE:—Amateurs may produce this play without 
payment of royalty. All other rights reserved. 


PRICE 25 CENTS 


New York London 

SAMUEL FRENCH SAMUEL FRENCH, Ltd. 

publisher 26 Southampton Street 

28-30 WEST 38th STREET STRAND 

s 











LIZA ANN 


A tCaurn Brama in (0ttc Act 

(15 Scenes) 


BY 

CHARLES BARNARD 


Copyright, 1916. by SAMUEL FRENCH 


NOTICE:—Amateurs may produce this play without 
payment of royalty. All other rights reserved. 


NEW YORK 

SAMUEL FRENCH 


PUBLISHER 

26-30 WEST 38TH STREET 


LONDON 

SAMUEL FRENCH. LTD. 

‘26 SOUTHAMPTON STREET 

STRAND 






LIZA ANN. 


SCENES AND TIME. 

1 Kitchen in a cheap flat in the slums, New York. 

Morning. 

2 Chamber in the same flat. 

3 Same as No. i. 

4 Hallway at the Settlement House. Night, two 

days later. 

5 Garden before the home of Prudence. 

6 Same as No. 4. 

7 Same as No. 5. 

8 A Country Road. 

9 The Picnic Grounds. 

10 In the orchard. Three years later. 

11 The Dining room. One a. m., the same night. 

12 Same as No 5. Next morning. 

13 Office of the Justice of the Peace. 

14 Same as No. 5. 

(NOTE: This can be also printed on the Pro¬ 
gram of each Performance.) 


4 






PLAN OF STAGE FOR A LAWN DRAMA 

REAR WALL OF 5TAGE 


LIZA ANN. 



RIGHT ENTRANCE 











LIZA ANN. • 


Scene No. i :— The kitchen in a cheap flat in the 

slums. 

(Enter Slick Judy at left, looks about.) 

Judy. Nuther day in this hole of a flat—and the 
rent due—and nothing doing. (Comes to Center. 
Takes out silver dollar, examines it, bites it. Ap¬ 
pears to hear some one coming. Is alarmed. Calls 
off Right) That you, Liza Ann? (Enter at Right 
Liza Ann with motions of opening and closing door. 
Has silver dollar in hand) Where’s the things for 
my breakfast? 

Liza Ann. (Offers the money to Judy) The 
money’s queer. Grocery man wouldn’t give me a 
thing for it. 

Judy. Then you go without breakfast. You 
must shove the money I give you or starve. 

(Liza Ann takes box of sardines from pocket and 

gives it to Judy.) 

Liza Ann. There’s sardines, anyway. 

(Judy takes box of sardines and puts in pocket.) 

Judy. Where’d you get it? 

Liza Ann. Swiped it at the store. 

5 


/ 


> 






6 


LIZA ANN. 


Judy. That all you could lift? 

Liza Ann. Yep. Cross me heart, Marm. 

(Judy is alarmed. Looks to Right.) 

Judy. Look out the door. Mind who you let in 

(Liza crosses to Right. Makes motions of opening 
door slightly and looking out, opens door, admits 
Bike, closes door after him.) 

Liza Ann. It’s only Bike—the Cove. 

(Enter at Right Bike the Cove.) 

Judy. (To Liza Ann) Go down to the street 
door and keep an eye on the Cops. 

(Exit Liza at Right. Remain at entrance ready for 
cue for return. Bike opens coat and takes out 
a number of silver spoons. Gives them to Judy 
who looks them over. She appears disap¬ 
pointed.) 

Judy. What made you take marked spoons? 
These are all marked with a S and a P. 

Bike. Had to take ’em. There wasn’t any plain 
stuff. These country houses are pretty slim pick¬ 
ings. 

Judy. How much you want? 

Bike. Ten dollar bill. 

(Judy takes silver dollars from dress. Shows them 

to him.) 

Judy. Give yer five of these. 

Bike. Oh. Yer just a robber. ’Sides, yer stuff 
is shady. I want ten dollar bill for them spoons. 


LIZA ANN. 


7 


{Both appear frightened. Look to door. Bike 
draws gun. Judy grabs all the spoons. Enter 
Liza at Right in haste. Closes door.) 

Liza Ann. It’s perlice. Beat it, Bike. 

Bike. (Looks left) Fire Escape—This way? 

Liza Ann. Yep. I’ll show yer in a minute. 

(Judy thrusts all the spoons into Liza’s hands.) 

Judy. Hide ’em for me. 

(Liza makes motions of opening door at Left. 
Pushes Bike through door at left. Follows 
him off Left. Both cross stage at back for 
Scene No. 2. Judy looks round in fright. 
Takes silver money from dress. Motions of 
taking lid from top of stove with a cover lifter. 
Drops silver in stove, puts on cover. Turns to 
Right. Appears frightened. Tries to appear 
innocent. Enter Policeman at Right. Pro¬ 
ceeds at once to handcuff Judy. Takes her off 
at Right. Exit Judy, to waiting room to wait 
for Scene No. 14. Exit Policeman and cross 
stage at back ready for Left entrance in Scene 
No. 4.) 


Scene No. 2 :— Another room in same flat. 

(Enter Bike and followed by Liza Ann at Right. 

Liza points to Left.) 

Liza Ann. This my room. The fire escape is out¬ 
side that window. 

(Bike makes motions of opening window, looks 
down and off and up.) 

Liza Ann. Go up the ladder to the roof. Then 
jump down to the next roof and try the scuttles. 


8 


LIZA ANN. 

i 

Bike. That’s dead easy for a clean get-away. 
Gimme them spoons. Slick Judy never paid for 
’em. 


(Liza gives him all the spoons, hut one.) 

Liza Ann. Aw ! Gimme one of ’em—to ’member 
yer by. I’m yer fren, Bike. 

Bike. Your white, Liz. Keep it till we meet 
agin. So long. 

(Bike makes motions of climbing out window and 
exits Left. Wait for Scene No. io. Right En¬ 
trance. Liza Ann comes to window . Watches 
him climb ladder. Waves hand to him. ■ Closes 
window. Hides spoon in dress. Crosses to 
Right. Motions of opening crack of door at 
Right. Appears to see Policeman arrest Judy. 
Appears at first pleased, and then serious. 
Cautiously exits Right. Liza, after exit, crosses 
back of stage ready to enter Left in Scene No. 

3-) 

Scene No. 3 : — The kitchen in same flat. Same as 

Scene i. 

(The Agent pushes door open at Right, looks in. 
Enters at Right; takes key out of door and puts 
it in pocket. Appears to take quick mental in¬ 
ventory of things in the room.) 

The Agent. Rent due six dollars. The truck 
wuth about three fifty. Out it goes. 

(Appears to notice door opening at Left. Enter 
Liza Ann at Left. Sees the Agent. Is half 
smiling, half frightened.) 

Agent. Where’s the Madam? 

Liza Ann. She’s visiting with frens. 


LIZA ANN. 


9 


Agent. Pinched ? 

Liza Ann. Yep. 

Agent. Suppose you have the rent ready. 

Liza Ann. Say, Mister, you don’t want a 
waitress, do yer? I’m accustomed to waiting—for 
every thing. 

Agent. Thankee—nothing doing. (In friendly 
manner) The Madam—wasn’t your Mother? 

Liza Ann. (With pride) Not much. Mother’s 
dead. I never saw—Father. 

Agent. (Gives her a coin) Get your breakfast 
out of that and then you go to the Settlement round 
the corner on the next block. See the head Worker 
and she’ll be your friend. Now hurry and pack 
your dress-suit case, for the Madam’s truck must 
go to pay the rent. 

Liza Ann. (Takes the money with a smile) I’ll 
be out of here in a minute. (Aside at Left) No 
Settlement Head Worker for me. (Exits at Left. 
Remain at Left, ready for entrance with Policeman 
at Left in next Scene) 

(Agent makes motions of opening window at back 
and calling dozen to street.) 

Agent. (Calling dozen and off) Hy, Bill! Be 
ready for half a load. I’ll be right down. (Exit 
Agent at Right) 

Scene No. 4: —The Reception Room at the settle¬ 
ment house. 


Time:— Night—two days later. 

(Enter a trained nurse at Right, crosses to Left, 
motions of opening door Left. Enter Police¬ 
man at Left in rain coat and rubber cap and 
carrying Liza Ann in his arms. Nurse sur¬ 
prised and concerned. Policeman puts Liza 


10 


LIZA ANN. 


dozvn on her feet, but she cannot stand. Nurse 
closes door and comes to Liza. Kneels on one 
knee and examines Liza. 

Policeman. This the Settlement, Miss? 

Nurse. Yes. What can we do for you ? 

Policeman. The Hospitals are full and it’s a long 
walk to the station house. She is in bad case. Can’t 
you take her in ? 

Nurse. (Rises) Where did you find her ? 

Policeman. Asleep in the rain on the grating 
of a hot air vent. Said she had no home and had 
nothing to eat for two days. 

Nurse. Her trouble is just plain starvation. Was 
there any mark of any kind about her? 

Policeman. (Takes the spoon from pocket) I 
found this spoon in her clothes. You might keep it 
for her. 

Nurse. ( Examines the spoon) It is marked 
S. P. We will keep it as a possible means of finding 
relatives—if she has any. 

Policeman. Thank you, Nurse. I brought the 
child here, for I hoped that the Settlement might 
find a home for the child in the country. 

Nurse. Perhaps we can and the .Settlement 
thanks you for bringing her to us. 

Policeman. Thank you, Nurse, I’ll report the 
case at the Station house and give the item to the 
reporters and, if anything comes of it, I will let 
you know. Good-night, Miss. (Exit the Police¬ 
man at Left) 

(Nurse calls off Right. Enter a young girl at 

Right.) 

Nurse. Lend me a hand with this child. Care¬ 
ful. Go easy. (Exit Nurse and girl gently support¬ 
ing Liza Ann at Right.) 



LIZA ANN. 


ii 


(Liza goes to dressing room . Prepares for Scene 
No. 6, Right entrance. Young girl off-stage , 
unless doubled with other parts. Nurse exits 
Right. Ready for same entrance Scene No. 6.) 

Scene No. 5 :—The front garden before the home of 

Prudence Parker. 

Time: —Early morning—six weeks later. 

(Enter Prudence Parker at Left. Looks about. 
Has large bunch of flowers in hand.) 

Prudence. Everything in my front garden is 
dripping with dew. 

(Enter Maid at Left.) 

Maid. Breakfast is served, Miss Parker. 
Prudence. Put these flowers in a box, as I wish 
to send them to the Settlement House in the City. 
Tell the cook to keep things warm. I expect a visitor 
presently. (Maid takes the flowers and exits at 
Left) John Christal, our new minister, said last 
Sunday—The only road to happiness is through 
service. When he comes this morning I iliust ask 
him just what that means. (Looks off Right. Ap¬ 
pears greatly pleased) Oh. Here he comes now— 
hurrying to his train. 

(Enter at Right Rev. John Cristal with dress-suit 
case in hand. Puts down case. Appears glad to 
see her.) 

Rev. John. Good-morning, Miss Parker, pray 
excuse my very early call. 

Prudence. Good-morning, Mr. Christal. 

Rev. John. I called thus early to say that I hope 
to return the day after to-morrow—with the child. 


12 


LIZA ANN. 


Prudence. Wait one moment. Let us not be too 
hasty in this matter. I am not sure that I can be 
responsible for a strange child of unknown parent¬ 
age and training. 

Rev. John. Oh. I trust I did not misunder¬ 
stand you. I thought that you decided to give the 
girl a home. 

Prudence. Yes, I did, but I think that she had 
better live with my Farmer’s family. His wife has 
six now. 

Rev. John. My Friend. That would not be 
doing a real service. What this girl from the Settle¬ 
ment needs is you—your love and care. I have just 
time to catch my train. Shall I go ? 

(Enter the Maid with the flowers in a box at Left.) 

Maid. The flowers, Miss Parker. 

Prudence. (Taking the box. Exit the Maid at 
Left. Offering the box to Rev. John) Give the 
flowers to the Nurse at the Settlement House, and 
bring the child to me. 

Rev. John. (Takes box and picks up suit case) 
Thank you. Now your heart speaks. Shall return 
day after to-morrow and will bring the girl here 
from the train. Good-morning and good-bye. 
(.Bows and exits at Right. Crosses stage at back 
ready for entrance at Left in next Scene) 

(Prudence bows and smiles, watching him off 

Right.) 

Prudence. Perhaps he is right. I am a lonely, 
old woman. Perhaps I—too—need love and care. 
{Moves slowly to Left. Stops in deep thought) 

^ {Enter the Maid at Left.) 

Maid. The griddle cakes will be ruined, Marm. 


LIZA ANN. 


13 


Prudence. Oh, certainly. I will save them. 
{Exit Maid at Left arid follozved by Prudence with 
gesture of impatience. Remain at Left ready for 
entrance at Left in Scene No. 7) 

Scene No. 6 : —Reception room at the Settlement 
House. Same as No. 4. 

{Enter the Trained Nurse at Right. Crosses to 
Left and opens door. Enter Rev. John 
Cristal with box of flowers at Left.) 

Nurse. Good-morning, Mr. Christal. Welcome 
to the Settlement once more. Liza Ann is all ready. 
She has improved wonderfully since you were here a 
month ago. I’ll send her to you while I finish her 
packing. 

Rev. John. Thank you, I shall be glad to see her. 
Here are a few flowers from the country. 

Nurse. Oh, thank you. I shall send them to our 
hospital. {Takes box. Exit Nurse at Right. A 
door is heard to bang outside Right. Rev. John 
for an instant amused, then serious) 

Liza Ann. {Outside right) I won’t. I won’t. 
I won’t never to go no home in the country—Never. 
Cross me heart. {Enters at Right. Discovers Rev. 
John. Stands staring at him in surprise) 

Rev. John. {Offering hand with a smile) Why, 
I thought you would be glad to go with me. 

Liza Ann. Ain’t you the guy that paid the old 
Jew Peddler for the apple I swiped from his cart? 
You remember that time? 

Rev. John. Why, yes I remember that day. I’m 
glad to see you again. 

Liza Ann. Say, Mister. What did yer mean 
when you said you didn’t want the Peddler to think 
I lifted the apple ? Why. He wan’t no account. 

Rev. John. Of course, you didn’t mean to steal 
the apple—did you, Dear ? So I paid for the apple. 


14 


LIZA ANN. 


Liza Ann. {In changed manner) Oh. You 
was thinking of—me. Nobody didn’t never say any¬ 
thing like that to me—before. Say. Are you the 
man who is going to take me to the country Jail ? 
Me fren is doing her bit at the country Jail. 

Rev. John. I have come to take you to a country 
home among the hills where the boys and girls play 
all day among the wild flowers. 

Liza Ann. It isn’t anything like Heaven—or the 
Circus ? 

Rev. John. I have come to take you to a friend 
of mine who lives in a beautiful house in the woods. 
She has dogs and chickens and kittens. 

Liza Ann. Does she live in the Zoo? She isn’t 
a lion tamer or things like that ? 

Rev. John. No. She is a lady and she wants 
you to come and live with her. 

Liza Ann. Does she have three regular meals a 
day ? 

Rev. John. Strawberries and cream and cake for 
supper. 

Liza Ann. What’s cream. Is it as good as liver 
’n bacon ? 

Rev. John. Oh! much nicer and the lady has a 
pony. 

Liza Ann. What’s a pony? Is it anything like— 
a kitten ? 

Rev. John. Oh, dear, no. A pony is to ride on, 
like a horse. 

Liza Ann. Oh. Circus. I’ve changed me mind 
—mebby I’ll go and see if I’d like being locked up 
nights. 


{Enter the Nurse with small hand bag. Offers it 

to Liza Ann.) 

Nurse. {To Liza Ann) Here’s a bag for you, 
Dear. I have put all your things in the bag. 


LIZA ANN. 


15 

(Liza Ann takes bag and pulls everything out of the 

bag on the floor.) 

Liza Ann. Where’s my spoon ? Oh, I must find 
that spoon. 

Rev. John. Never mind the spoon, Dear. There 
are plenty more at home. 

Liza Ann. ( Tearfully) No. No. T cannot 
lose that spoon. Bike the Cove gave it to me. He 
was me fren. 

Nurse. I remember now. I put it away for safe 
keeping. I’ll get it. (Exits at Right. Rev. John 
assists Liza Ann pick up the things and pack them 
in the bag. Re-enter Nurse with the spoon at Right. 
Gives it to Liza Ann) Here’s your spoon, dear. 

Rev. John. Let’s see this precious spoon. (Liza 
Ann gives him the spoon. He examines it caref ully. 
The Nurse gives Liza Ann parting advice. Rev. 
John returns spoon to Liza Ann who puts it in her 
bag. To Nurse) Thank you for all that the Settle¬ 
ment has done for the Child. Come, Liza Ann. 
We must start for our train. 

(The Nurse stoops and kisses Liza Ann and for 
the first time Liza Ann smiles and shows a 
little affection, but is too eager to go with Rev. 
John whom she seems to regard as the first real 
friend she ever had. Shozvs no regret at leaving 
the. Settlement. They Exit Left. Both cross 
back of stage ready to enter at Right Scene 
No. 7.) 


Nurse. (Looking after them) I can only hope 
that these good people can solve the riddle of this 
young life. (Exits, with gesture of doubt, at Right. 
Unless this part is doubled, this is last appearance) 

Scene No. 7 :—The front garden before the home of 

Prudence Parker. 


LIZA ANN. 


16- 


Same as No 5. 

(Enter Rev. John at Right. Stops looks off and 
calls off Right. Carries suit case. Puts it on 
floor.) 

Rev. John. Come, Dear. Here we are—at home 
at last. Why, what frightened you? 

{Enter Liza Ann at Right. Runs to Rev. John 
and clings to him in terror.) 

Liza Ann. (Sobs) Oh, I can’t bear it. 

Rev. John. Don’t cry, Dear. 

Liza Ann. Oh. It’s terrible—terrible. 

Rev. John. No one will hurt you. 

Liza Ann. It’s awful. It’s so terrible—still. 
Why don’t somebody make a noise? Is everybody 
dead? (Rev. John laughs. Picks up suit case and 
moves to Left Center) Oh. Oh. Don’t do that, 
don’t walk on the grass. 

Rev. John. There is no Policeman here. We 
always walk on the grass. Come. Try it. 

{Enter Prudence at Left. Looks at Rev. John 
jzvith a smile. Looks at Liza Ann. Appears 
disappointed. Carries flozvers in her hand.) 

Liza Ann. Won’t it bite me? 

Rev. John. {Discovering Prudence. Smiles and 
nods) Oh, here’s our friend. {Presents Liza Ann. 
She pays no attention and is looking at the grass) 
This is Liza Ann. 

Liza Ann. Won’t the grass hurt me? It’s full 
of prickles—and is so horrid green. (Liza Ann 
turns her head slowly. Discovers Prudence. 
Wipes away her tears with back of hand. Steps 
timidly on grass. Appears surprised and comes to 
Prudence. Appears to try to recall something) 


LIZA ANN. 


1 7 


Seems as if I had—struck you before—some wheres. 

Prudence. ( To Rev. John) What can she 
mean by that? 

Rev. John. She means that you resemble some¬ 
one—she met before. 

Prudence. Oh! That would be impossible. 
(To Liza Ann and giving her the flowers) Here 
are flowers to welcome you to my home. (Prudence 
drops on one knee and embraces Liza Ann and 
studying her face with interest and curiosity) 

Liza Ann. ( Overjoyed and absorbed in the 
flowers) Oh. Lady—Lady—May I keep them ? 
I never had any real live flowers before—’cept once 
when a Salvation girl give me a vi’let. I kept it three 
days and then it died and I cried over it. ( Admir¬ 
ing the flowers) They are almost as beautiful—as 
you are. ( Hides her face in the flowers) 

Prudence. ( Aside to Rev. John) She has a 
better face than I expected to find in such a child. 

Rev. John. Wait a little till she knows you 
better. 

Prudence. (Rises) Come, Dear, let’s go in the 
house. 

Liza Ann. Say, Lady! Do I have to be locked 
in my cell'at night? 

Prudence. (With a smile) I don’t know what 
you mean, Dear. 

Liza Ann. (Why, ain’t you the keeper of the 
country— (In changed manner) What a funny mis¬ 
take. Me fren Judy told me—you see—I never met 
a sure thing lady before. 

- r 

(Enter Maid at Left.) 

Maid. Supper is served. 

Prudence. (To Rev. John) Will you not join 
us, Mr. Christal? 

Rev. John. (Taking up suit case) Thank you— 
/ with pleasure. 


i8 


LIZA ANN. 


Prudence. (To Liza Ann) Come, Dear, give 
your bag to Martha. (Prudence leads the way at 
Left. Remains Left ready for Left entrance in 
Scene No. 9 and is follozved by Rev. John. Rev. 
John crosses stage at back for Right entrance No. 
10. Both exit at Left. The Maid tries to take the 
bag from Liza Ann. Liza Ann is afraid she zvill 
steal it and shows fight and takes it away and 
marches off with the bag at Left. Crosses stage at 
back for entrance at Right in Scene No. 8. Maid 
surprised, then amused. Appears to say: “ Here's 
a pretty kettle of fish.” Laughs and exits Left. 
Maid prepares for entrance at Left in Scene No. 9.) 

Scene No. 8 :—A country road. 

(Enter Calamity Stark at Left. To Center. 

Looks about.) 

Calamity. Uncommon fine day and the country 
looking all brushed up and dusted off. These fine 
June days are sure to bring on a storm. And the 
strawberries just beginning to color—the hull crop 
will be spiled—happened just that way one summer 
’bout ten years ago. (Looks off Right) For the 
lands’ sake. Here comes Semanthy Greenleaf and 
looking as smiling as a basket of chips. Must have 
sold her eggs for a cent a dozen more at the store. 

(Enter Semanthy Greenleaf at Right.) 

Semanthy. Morning, Calamity. Heard the 
news? Prudence Parker has ’dopted a child from 
New York. 

Calamity. You don’t tell me. And she turned 
thirty and flying in the face of Providence like that. 
Why, there hasn’t been a child in the old Parker 
house since Silence Parker was born and she ran 
away to get married—and Silence died nobody 


LIZA ANN. 


19 


knows when or where. If Prudence just had to 
’dopt something why didn’t she take her sister’s 
child ? 

Semanthy. None of the Parker women seem to 
run to children and it wasn’t sartin that Silence 
Parker ever had a child. 

Calamity. When is this dreadful creature ex¬ 
pected ? 

Semanthy. Well, I was to the store ’bout five 
yesterday and Prudence came in after clothes for a 
perfect daughter of Satan. 

Calamity. I was going to the store, but I guess 
my eggs will keep and I must go right home. I can’t 
have my children ruined by any ill mannered little 
Arab brought up in such a Sodom and Gomorror as 
New York. 

Semanthy. Well, Calamity, I have but one angel 
boy, but I must save him from the snares of any 
designing little Minx from the Bowery. One thing 
is certain, she must not be invited to the Sunday 
School Picnic. 

Calamity. ( Pointing off Right) Why, Semanthy. 
There’s your angel boy now bringing your cow to 
pasture. 

Semanthy. Guess I’ll have to trust him to Prov¬ 
idence this time. I’ve got a pie in the oven and 
Samuel Greenleaf is some perticular about his pies 
and I must hurry home. 

Calamity. How was eggs to the store ? 

Semanthy. Falling, Calamity, falling some. 

Calamity, It do beat all how eggs do act. Must 
be the fine weather. ( Exit both at Left. Remain 
Left for Scene No 9) 

(Enter Liza Ann at Right. Runs on in fright and 

tears.) 

Liza Ann. ( Looks ojf Right) Where’s the 

police? The circus lion has escaped from his cage. 


20 


LIZA ANN. 


How he waves his horns! He’s lashing his back 
with his awful tail. He’ll jump over the railing in a 
minute. Oh. How he roars! ( Sound of a cozv 
“ mooing ” off Right ) Oh. Here comes the Lion 
Tamer’s boy! (Calls off Right) Oh, Save me, 
Mister Boy! 

{Enter Mrs. Greenleaf’s Angel Boy at Right , 
barefooted and barelegged, and with ragged felt 
hat, too big for him. Liza Ann appears sur¬ 
prised and disgusted.) 

Angel Boy. W’s matter ? What scart yer ? 

Liza Ann. LIow did the lion escape? 

Angel Boy. The circus never comes at straw¬ 
berry time. There ain’t no Lion. 

Liza Ann. (Points off Right) What’s that 
great thing behind the railing? 

Angel Boy. That ain’t no Lion. That’s our cow. 

Liza Ann. What’s a cow? 

Angel Boy. Why, it’s just a cow. A cow gives 
milk. 

Liza Ann. G’way. Don’t be foolin’ me. I know 
better. Milk comes out of a can at the store. 

Angel Boy. My. You are green. You stand 
right there and I’ll milk the cow and you’ll see what 
a greeny you are. (Angel Boy exits at Right. Liza 
to Right. Looks off Right. First interested, then 
surprised, then disgusted) 

Liza Ann. I won’t touch another drop of milk’s 
long as I live. Oh. It was awful to see a boy 
pulling milk out of a dirty cow. 

(Enter Angel Boy holding his felt hat in both 

hands.) 

Angel Boy. Llave a drink of milk out of my hat. 

Liza Ann. (Disgusted) Naw. (Angel Boy 
drinks out of his hat. Liza Ann ashamed and dis- 


LIZA ANN. 


21 


gusted) Say—Little boy. Ain’t you ’shamed to let 
people see your feet? 

* Angel Boy. That’s nothing. I paddle ’em in the 
brook every day. Say, what games do you know ? 
Liza Ann. Matching pennies and craps. 

Angel Boy. Oh. There’s no fun in that. Can 
you play “ Snap the whip ? ” 

Liza Ann. Is it a card game? 

Angel Boy. I’ll show you. You take my hand 
and we run like sixty. Then I snap the whip. Oh. 
Come on. It’s great fun. ( Boy takes her hand and 
both exit at Right. At Once return running. At 
Center, boy stops and holding her hand, then lets her 
hand go and she falls and is hurt. She springs up 
hurt and indignant. Boy laughs at her. She, tear¬ 
ful and angry, slaps his face. He loses his temper 
and tries to strike her when she knocks him dozen. 
Boy yells) 

Liza Ann. Shut up you little coward. Go to 
your flat and tell your mother I taught you how to 
treat a loidy. (Exit Liza Ann with her head in the 
air at Right. Crosses back of stage ready for Left 
entrance in Scene No. 9) 

Angel Boy. (Gets up. Looks after her in 
admiration) Licked by a girl. Guess I ain’t going 
to tell, not much My. She’s a Daisy. (Exits at 
Left. Remains Left for Scene No. 9) 

Scene No. 9: —At the picnic in the zvoods. 

(Several young girls outside at Left begin to sing 
a marching song. Singing grows softer, then 
stops. Enter at Left M*rs. Calamity Stark 
and Mrs. Semanthy Greenleaf and follozved 
by Mr. Stark, lugging a heavy picnic basket. 
He appeal's tired and disgusted. Stop at 
Center.) 


22 


LIZA ANN. 



Mr. Stark. Darn Picnics. Thank Heaven 
Picnics don’t come but onct a year. 

Semanthy. For the Ian’s sake, Mister Constable 
Stark. Ever since the saloons were closel you’re 
’bout as cheerful as a rainy Sunday. 

Calamity. (To Mr. Stark. Points off Right) 
Put the basket down by the spring and fill the pail 
with water and squeeze the lemons and make the 
lemonade and be sparing of sugar, for it’s gone up 
lately and you’ll find the lemon squeezer under the 
pies and be careful ’bout them pies. 

Mr. Stark. Huh. Shutting up the Saloons just 
ruined Picnics. (Exit Mr. Stark zvith the pail and 
the basket at Riqht ready for same entrance Scene 
No. 12) 

Calamity. (Aside to Semanthy) That man 
can make more mistakes to the mile than a leaky 
corn planter. (Sound of singing off Left. Enter 
several young girls in picnic costume at Left and 
singing. Cross stage slozvly and Exit Right. Sound 
of singing heard off Right, then stops. Calamity 
and Semanthy stand at back as they pass) Think 
of all those sweet young things meeting that Imp 
of Darkness from New York. 

Semanthy. I do hope Miss Parker will have the 
sense to keep the little Minx to home till the picnic 
is over. 

Calamity. (Looks off Left) Why, Semanthy. 
Here comes your Angel Boy—in his Sunday best— 
with a girl. 

Semanthy. (Looks off Left) Well. She’s got 
style, and no mistake. 

Calamity. Well! I never. My oldest boy and 
the Smith brothers all tagging after a citified girl. 
(They move up stage to allow others to pass. Enter 
Angel Boy and Liza Ann at Left and follozved by 
four boys, all in Sunday best and all talking and 
laughing together. Exit at Right. Liza Ann 
crosses back of stage for Scene No. io. Calamity 


LIZA ANN. 


23 


and Semanthy look off Right. Turn to front. 
Both surprised ) It’s her. I was never so flabber- 
gastered in my life. 

{Enter Prudence at Left and followed by Maid 

with large basket.) 

Prudence. Good-morning, ladies. My daughter 
asked me to bring some goodies for the children. 
Have you seen her? {Others startled) 

Calamity. Yes. We had that pleasure. She 
was with some of the young men of the Young 
Peoples Christian Union. 

Semanthy. And looking most charming. I hope 
we shall soon have the pleasure of meeting her again. 

Prudence. Then, come, let us join the Young 
People. 

{Exit the ladies talking together and followed by 
the Maid at Right. Maid crosses stage for Left 
entrance Scene No. 14. Prudence remains at 
Right for Scene No. 10.) 

SPECIAL NOTE:—Songs, marches, and dances 
for children may be introduced here to give 
time for changes in costume in next Scene No. 
10. / 

Scene No. 10: —In the apple orchard in October. 

Three years later. 

{Enter Rev. John and Prudence at Right. Appear 
greatly interested in each other. Walk slowly, 
with pauses.) 

Rev. John. What magic change has come over 
your orchard? Every tree is loaded with apples. 
They fairly blush in the glow of the setting sun. 

Prudence. It is merely scientific care and yet, 


LIZA ANN. 


^4 

only a few summers ago I was tempted to root out 
every tree and plant—cabbage. Sometimes I wish 
the human plant could be as easily trained in the 
way it should grow. 

Rev. John. Oh, but it can be. There’s Liza 
Ann. Only thirty months in your home and she has 
bloomed into almost womanly beauty of character. 
Think what she was when she came here. See her 
now—a fine, generous and lovable girl. Why, the 
village children adore her. I think you have done 
wonders with the forlorn mite from the slums. 

Prudence. And who performed the greater- 
miracle, for you have been her Minister, her Tutor 
and her daily companion! 

Rev. John. I feel sure she must have had a good 
mother. 

Prudence. You forget. All her associates were 
criminals. Sometimes I dread the coming of tempta¬ 
tion—to her. 

Rev. John. Never fear. She will win out against 
it. 

Prudence. I hope so—and yet. ( Points off 

Left) See. Here she comes—book in hand. 

Rev. John. You must admit she has much of the 
Parker pride and self-respect. Won it from you, 
perhaps. 

(Enter Liza Ann at left. Walks slowly and read¬ 
ing a book. Does not notice others.) 

Liza Ann. {Aside) Of course, she had to do 
it—because it was right. ( Discovers others) Oh. 
It’s Mother dear—and Tutor. I came out to see the 
sunset. Isn’t the orchard lovely in the Ocober twi¬ 
light ? 

Prudence. Now, Liza, Dear, don’t linger too 
long for soon it will be dark. 

Liza Ann. I’ll not stay long, for I want Tutor 
to show me the new books that came to-day. 



LIZA ANN. 


25 

Rev. John. Come soon, if you wish to see them 
all. 

(Prudence and Rev. John exit at Left. Rev. John 
crosses back of stage to Right entrance Scene 
No. 12. Prudence remains left to center left 
in Scene 12. Liza Ann looks off Right. Ap¬ 
pears alarmed.) 

Liza Ann. I could not be mistaken. I saw Bike 
at the railroad station this noon. He seemed a little 
older and he had the prison palor. He did not see 
me and I only hope he will keep away from the 
house. Who told him I was here? ( Looks off 
Right. Is alarmed) Some one among the trees— 
stealing apples. Oh. It is Bike. I must speak to 
him. ( Calls off Right) Bike. Bike. 

(Enter Bike at Right and eating an apple. Recog¬ 
nizes Liza Ann. Throzus apple away and 
comes to Liza Ann.) 

Bike. Liza Ann—and rigged out as a Loidy. 
What is your game? Some man with chink back¬ 
ing yer ? 

Liza Ann. {Angry. Points off Left) How 
dare you, Bike? I live with my Mother—in the 
house you see through the trees. 

Bike. Yer Mother! Oh, come off. Slick Judy 
always said yer mother was dead. 

Liza Ann. I live here with my friend. She has 
been a mother to me these two years. I’d give any¬ 
thing if I knew my real Mother’s name. 

Bike. Slick Judy—might tell yer. 

Liza Ann. Where is Judy now? 

Bike. She was sent up the river for two years. 
Must be, by this time, on the fence again. 

Liza Ann. Does she hang out at the same place? 


LIZA ANN. 



Bike. Can’t say. I do my selling to ’nuther 
party now. 

Liza Ann. What brought you'up here, Bike? 

Bike. Well, I was lookin’ roun’. 

Liza Ann. You ’tendin’ to pull off—anything— 
to-night ? 

Bike. (Looks off Left) Seems like an easy one 
to crack. 

Liza Ann. Why, Bike. That’s my home. I live 
with my friend in that house. There’s four of us 
women alone in that house. You know me. Ain’t 
I yer fren? Didn’t I help you to get away, time 
Slick Judy was pinched? 

Bike. ( Roughly ) Shut up. Don’t ye squeel on 
me. Didn’t I give you a silver spoon for yer trouble. 

Liza Ann. Oh, Bike. I got that spoon. It’s hid 
in my room. 

Bike. Shut yer trap. It ain’t business. You 
skip along and k£ep yer light goin’ till the women’s 
all asleep and don’t ye make a peep till daylight. 
Un’erstan’ ? 

Liza Ann. Oh. Certainly, Bike—I’m yer fren 
an’ don’t ye forget it. Help yourself to an apple. 
(j Exit Liza Ann at Left . Bike stands watching 
her off. Crosses stage at back. Changes dress and 
prepares to enter Right on next Scene) 

Bike. She’s on the level. I must find me disap¬ 
pearing bed. {Exit Bike at Right. Crosses stage at 
back ready for entrance Left on next Scene) 

Scene No. ii :—The dining room at the home of 

Prudence. 

Time: —One o’clock next morning. 

{Stage dimly lighted. Enter Bike quietly at Left, 
has electric torch. Uses it to look about. Ap¬ 
pears to find sideboard at Left. Stops and 
listens. Takes out piece of gunny sack. 


LIZA ANN. 


27 


Spreads it on floor. Enter Liza Ann quietly at 
Right. Bike discovers her and covers her with 
his gun. She stops and looks at him and 
smiles.) 

Liza Ann. Can I help you, Bike? 

Bike. (Puts up gun) I ain’t taking no pard— 
this trip. 

Liza Ann. I shut all the doors upstairs. 

Bike. You’re all right, Liza, but you ain’t no use 
to me. 

Liza Ann. I am your friend, Bike. I want to 
help you. Do you need money? 

Bike. Do I—Well. 

Liza Ann. Then give up this business. It don’t 
pav. It ends nowhere. 

Bike. (Bitterly) It ends in Hell—guess I know 
that. 

Liza Ann. Oh, Bike. There is no Hell. 

Bike. Aw. Gimme no Sunday school guff. 

Liza Ann. Why, Bike, you are one of God’s 
boys He loves you. He is only sorry for you. He 
wants to help you—if you will only let Him. 

Bike. On the level, Girl ? 

(Liza Ann takes out money and offers it to him.) 

Liza Ann. Here’s money. Take it and quit this 
trade to-night. (Bike takes money, looks at it 
quickly and puts it in pocket) Oh, Bike, Bike, I’m 
your best friend. Promise me, promise me to quit— 
here and now and be a man. I’ll put everything 
away. 

Bike. I quit. I ain’t touched a thing. You get 
right back to bed. 

Liza Ann. I trust you, Bike. I have your 
promise. Don’t forget—I am your friend. 

(Exit Liza Ann at Right. Crosses stage at back and 


28 


LIZA ANN. 


changes dress ready for Left entrance Scene 
No. 12. Bike stops, listens. Finds the gunny 
cloth on the floor. Looks at it, then takes it up. 
Stands in thought. Suddenly spreads the cloth 
once more on floor and makes motions of taking 
silver from sideboard and placing it on floor. 
Tzvists up the cloth in his hand and exits zvith 
the cloth in his hand at Left. Crosses stage at 
back ready for Right entrance in Scene No. 

H-) 

Scene No. 12 :—Front garden at home of Prudence 
Parker. Same as No. 7. 

Time:— Early next morning. 

(Enter Prudence at Left, Scene No. 12, zvith 
knitted scarf over head. Appears greatly ex¬ 
cited. Looks off Right.) 

Prudence. I must have help—from some where. 
Oh, Mrs. Greenleaf’s Angel Boy is going by on the 
walk. Oh, Jimmy, Jimmy Greenleaf. Come here a 
minute. 

(Enter Mrs. Greenleaf’s Angel Boy.) 

0 

Angel Boy. Good-morning, Miss Parker. 
Prudence. Good-morning, James. Could I 
trouble you to do an errand for me? 

Angel Boy. Guess so. 

Prudence. Our telephone is out of order. Could 
I ask you to go to the Minister’s and ask Mr. 
Christal to come here at once? Run, for it is very 
important. 

Angel Boy. Sho. Your cat got kittens again? 
Yes’m I’ll call the Minister. (Exit Angel Boy at 
Right) 

Prudence. Most extraordinary. The front door 


V 


LIZA ANN. 29 

wide open and some of the silver in the sideboard 
gone. ( Looks off Right. Appears surprised. Calls 
off Right) Mr. Stark. Constable Stark. Come 
here. My house has been robbed. 

(Enter Constable Stark at Right. Appears 

greatly excited.) 

Constable Stark. Morhin’ Miss Parker. Bug- 
lars? You don’t mean it! That’s the second time 
your house has been entered in five years. First 
time the feller took a dozen spoons. It will be neces¬ 
sary to search the house. There may be finger 
prints. 

Prudence. Certainly, Mr. Constable. The front 
door is wide open, just as the burglar left it. 

Constable. (In pompous manner) That is very 
important. I may be able to capture the wretch 
single handed. 

(Exit Constable at Left.) 

Prudence. It cannot be that—she—is concerned 
in this miserable affair. (Looks off Right) Ah. 
Here comes my helper. 

(Enter Rev. John Cristal at Right.) 

Rev. John. Good-morning. Why. You seem 
troubled. What has happened? 

Prudence. My telephone was cut in the night 
and some silver taken from my sideboard. Poor 
Liza Ann is heart broken over it. (Looks off Left) 
Here she comes now. 

(Enter Liza Ann at Left. One sleeve is torn off 
and her hair is disordered. Runs to Rev. 
John and clings to him.) 




30 


LIZA ANN. 


Liza Ann. Oh! Save me from that mail. 

Rev. John. Calm yourself, Dear. No one shall 
harm you. 

Liza Ann. I was in my room when a man came 
in and tried to search me. 

Prudence. Our house was entered last night, 
Dear. Didn’t you know it ? 

Liza Ann. Why, yes. I knew that. 

Prudence. Is this the first time you have been 
down this morning? 

Liza Ann. Yes—of course, it is. 

Prudence. Then how did you know that the 
silver had been taken ? 

Liza Ann. I did not know that. ( Aside in 
great distress) Bike—Bike has gone back on me. 

(Enter Constable^ at Right. Appears very im¬ 
portant.) 

Constable. Takes a man of experience like me 
to track a thief. Oh! She’s cute. Left the front 
door open just to make me think it was a regular 
burglar done it. I searched the little robber’s room 
and I found proof that points to the culprit. What 
do you expect after ’doptin’ a regular thief from the 
slums of New York. 

Rev. John. Hold your peace, Man, and give us 
your proof. 

Constable. Can’t do it. It’s part of the evidence 
that I must lay before the Deestrict Attorney. 

(Prudence goes quickly to Left and appears to give 
orders to servant outside.) 

Rev. John. (To Liza Ann and trying to com¬ 
fort her) Never fear, Dear. It is all some unhappy 
mistake. We shall certainly prove that you knew 
nothing about the robbery. 


LIZA ANN. 


3i 

Liza Ann. Must I go through the streets with 
this man to the Tombs? 

Constable. Ruther quess you will. Bad girls 
like-* 

Rev. John. Hold your peace, Man, or Til tear 
your badge from your cowardly breast. * 

Constable. Nice kind o’ talk from a- 

Prudence. \Interrupts him) I will take the 
child to the police court in my car and you can go in 
the front seat. ( Taking Liza Ann’s hand) Come, 
Dearest. Something in my heart tells me to trust 
you. 

(Exit Prudence and Rev. John with Liza Ann at 
Right. Remain at Right entrance for Scene 
No. 13.) 

Constable. (Follows them. Remain Right for 
Scene No. 13) The Jedge must give her the limit or 
lose his job. ( Exit Constable at Right) 

Scene No. 13: —The office of the Justice of the 

Peace. 

(Enter Justice of the Peace at Right. Motoring 
cap and costume. Looks at watch. Puts cap 
in pocket.) 

Justice. Seems a pity to lose such a fine day to 
try my new car. ( Calls off Left) Oh, Miss Clark. 

(Enter Miss Clark at Left. Has note hook and 

pencil in hand.) 

Justice. Morning, Miss Clark. 

Miss Clark. Oh. Good-morning, Justice Brown. 
Justice. Any arrests, drunks or disorderly per¬ 
sons to come before me to-day ? 

Miss Clark. There is no record of any arrests 




32 


LIZA ANN. 


in this town for the last sixty-nine days. The jail 
is empty and the Warden wants a week’s vacation. 

Justice. Where’s the Warden going? 

Miss Clark. Wedding journey. 

Justice. Who in the world wants to marry the 
Warden ? 

Miss Clark. ( Surprised and indignant) Justice 
Brown. 

Justice. ( Laughs ) Who is to be the happy 
bride ? 

Miss Clark. I shall. Rev. John Christal is to 
be at Mother’s house ( Looks at watch) in one hour 
and—( Loud knock at Right) Mercy. I hope it is 
not a criminal case. 

Justice. Open the door, Miss Clark. Unless it 
is a major offence I’ll rush the case through in a 
jiffy. (Miss Clark starts to door, but stops. Filter 
Constable at Right and leading Liza Ann by hand. 
Enter Rev. John and Prudence at Right. To Miss 
Clark) Ready. Take down every word that is 
said. ( She takes notes of everything said. To 
Prudence) Good-morning, Miss Parker. What 
can I do for you? 

Prudence. My house was entered last night and 
fourteen silver spoons stolen. Must the matter go 
before a Jury? 

Justice. You forget, Madam, that since this 
town went dry not a Juryman has been called for 
a year and a half. 

Constable. Jedge. The prisoner should be 
locked up. 

Justice. The jail is locked up and the Warden 
is to be married this morning. ( Others surprised) 
I’ll hear this case at once for the Warden’s Bride 
is in a hurry. 

Miss Clark. Oh, I can wait. ( Laughter and 
sensation ) 

Constable. Here’s the criminal, Jedge - 

Justice. Don’t be a fool, Constable. (To Liza 



LIZA ANN. 


33 

Ann) My Dear, tell me all about it. Did you take 
the fourteen spoons? 

Liza Ann. I did not. 

Constable. ( Takes out the spoon) There is 
one of the stolen spoons. I found it in the Burglars 
dressing table. It is marked S. P. and P. stands for 
Parker. ( Sensation ) 

Prudence. Pardon me, Justice, may I see that 
spoon. 

Justice. Certainly, Miss Parker. Constable, give 
the spoon to the lady. 

Prudence. (Prudence examines the spoon. 
Others interested ) This is not one of the silver 
spoons taken last night. This is a plated spoon, 
marked S. P. and is, I think, one of several belong¬ 
ing to my sister, Silence Parker, and that were 
stolen from my house about four years ago. With 

your permission, Justice, I will keep it. 

% 

(Justice nods. Prudence puts spoon in dress.) 

Liza Ann. Oh. That is my spoon. Bike the 
Cove gave it to me when I lived with Slick Judy. 

Justice. Where did you last see these interesting 
people, My Dear? 

Liza Ann. Slick Judy went up river sometime 
ago. I saw Bike last night in the orchard. Oh. 
Judge, I must see Bike. Could you help me find 
him ? 

Miss Clark. ( Closes book with a slam) Mr. 
Justice Brown: May Rev. Christal and I be ex¬ 
cused ? 

Justice. Certainly. Miss Clark. My car is at 
the door. You can tell my man to take you both to 
your Mother’s home and joy go with you. 

Rev. John. (To Prudence ) Oh. Miss Parker, 
I forgot to tell you that I had an engagement this 
morning and I am late. (Prudence is surprised and 


34 


LIZA ANN. 


jealous. To Liza Ann) Come Liza. Let’s you 
and I go for a ride. Mother will excuse us. 

(Prudence nods consent, but says nothing. Exit 
Rev. John and Miss Clark with Liza Ann 
between them at Left. Rev. John and Liza 
Ann cross back of stage ready for Right 
entrance Scene No. 14.) 

Constable. Excuse me, Jedge, but you allowed 
the prisoner to escape. 

Justice. The case is dismissed. 

Constable. ( Disgusted . Aside) Shutting up 
the saloons has ruined this town. ( Exits at Right) 

Prudence. ( To Justice) I am greatly obliged 
to you, Justice Brown. I felt sure that my daughter 
was innocent in spite of her early surroundings. 

Justice. You are a happy woman to have such a 
daughter. As for this Bike, the Cove, and Slick 
Judy, they will never trouble you again and as for 
the petty theft—forget it. 

Prudence. Just one thing more. Who is this 
Miss Clark? She seemed to me to be—well just a 
little- 

Justice. Miss Clark is my confidential Secretary 
—fine girl. Mr. Christal promised to marry her— 
and—Pardon me, Miss Parker, are you ill?—my car 
must be back soon and I can take you home. 

Prudence. ( With an effort) Thank you. My 
own car is at the door. ( With a lozv bozo Prudence 
exits at Right. Remains Right for Scene No. 14) 

Justice. Well. What have I done or said? Give 
it up. ( Exits at Right) 

Scene No. 14:— The front garden at the home of 
Prudence. Same as No. 5. 

(Enter Maid at Left. Enter Prudence at Right. 

Appears serious.) 



LIZA ANN. 


35 

Maid. Why, Marm. Are you ill? Shall I get 
you a cup of tea? 

Prudence. Yes. Take it to my room. Has my 
daughter returned ? 

Maid. Not yet, Marm. 

Prudence. If Mr. Christal calls, beg him to ex¬ 
cuse me. I cannot see any one to-day. 

Maid. While you were out, Marm, a man and 
a woman asked to see you. 

Prudence. What were they like? 

Maid. Well, I should say the young man was 
excited and the old woman was just a Hag. 

Prudence. Send them away. I cannot see them 
to-day. ( Exit Prudence followed by Maid at Left. 
Wait at same entrance for cue to re-enter) 

{Enter Bike at Right carrying a small package and 
folloived by Slick Judy.) 

Judy. What’s yer game telligrabbing me to meet 
yer at this country Hole? 

Bike. ’Cause I’m going to play the game straight 
and as soon as I get a job I’ll pay yer for yer trouble. 
{Looks off Right. Surprised) Here’s Lizza Ann— 
and you play fair or I’ll—Mind what yer say to the 
gal. 

Judy. {Surprised) Lordy. She is a lady. 

{Enter Liza Ann at Right and folloived by Rev. 
John. Liza Ann pauses in astonishment.) 

Liza Ann. Oh, Bike. 

Bike. Excuse me, Liza Ann, me name is Smitz, 
Bike Smitz. I’m straight now. 

Liza Ann. {Laughs) Oh, I’m so glad to see 
you. I want you to meet my friend, Mr. Christal. 

Rev. Joein. {Shaking Bike’s hand) I am glad 
to meet a friend of Liza Ann. 


36 LIZA ANN. 

(Enter Prudence at Left. Pauses in surprise. 
Listens to others in growing interest and amaze¬ 
ment. Others do not notice her.) 

Liza Ann. And Judy, too. Oh, I am more glad 
to see you than I can tell. (Presenting Judy) 
Father, Dear. This is Judy. 

Rev. John. (Taking Judy’s hand) I am glad to 
meet you Madam. 

Liza Ann. Oh. And Judy. You knew my 
Mother—did not you Judy ? 

Judy. Yes, Miss. I was with her when she 
died. 

Liza Ann. And, Judy, Dear, do you remember 
Mother’s name ? 

Judy. I never knew her husband for she was a 
widely,, but just before the last she told me her 
maiden name. I forget just what it was —I think 
it was something like Barker. 

(Prudence comes forward as if to speak to Judy. 

Others surprised.) 

Prudence. (To Judy) Was it Silence Parker? 

Judy. (Looks earnestly at Prudence) Yes, 
Mam, it was Silence Parker. And at the last—she 
looked the image of your Ladyship. 

Prudence. (Taking Judy by the hand) My 
Dear Woman. You have done me a great service. 
I can never fully repay you. When you return to 
New York find a quiet little home and I will instruct 
my Banker to pay you fifty dollars a month as long 
as you live. 

Judy. (Greatly affected kisses the hand of 
Prudence and wipes away the tears) The love of 
God bide wid ye, Lady. (Others greatly moved) 

Bike. Now, Judy—you can play tiie game— 
straight. 

Judy. (Proud and indignant) I play no more 



LIZA ANN. 


37 

games. I’m an honest woman—and don’t ye forget 

it. 

Bike. Shall I take you to your train, Judy? 
Prudence. (To Liza Ann) Stop a moment. 
Liza, Dear, call my car. (Exit Liza Ann at Left. 
Remains Left for re-entrance. Giving Judy money, 
to Judy) Let me pay your fare to New York. 
(Enter Liza Ann at Left) Liza, Dear. Take our 
friend to the car. 

(Liza Ann crosses to Judy. Takes her hand to 
lead her out. At Right Judy turns to the 
others.) 

Judy. The Lord love ye. 

(Exit Liza Ann followed by Judy. Liza Ann 
remains at entrance for re-entrance.) 

Bike. (To Prudence) I came to your house, 
Lady, to rob it, but Liza Ann showed me how to be 
straight and I promised I would quit and then after 
she had gone I broke my promise and I came back to 
return the fourteen spoons. (Gives her the package. 
Prudence takes it with a smile) I shall play the 
game square—after this. If Liza will trust me once 
more. 

Rev. John. Spoken like a man. Come to my 
study at the church this afternoon and let me help 
you to find a job in the country. What you need is 
a Big Brother—and I am your Brother. 

Prudence. (Shows Bike the spoon) One mo¬ 
ment, please. Did you ever see this spoon before? 

Bike. Yes, Marm. I stole that spoon the first 
time I entered your house. I gave it to Liza and 
now that I am playing fair I hope she will keep it. 
I’ll be a better man now that I know it helped her 
find the way to her mother’s old home. I ain’t in 


38 


LIZA ANN. 


her class, lady, but I hope she will keep the spoon in 
memory of Bike Smitz who plays the game fair. 

{Enter Liza Ann at Right.) 

Liza Ann. ( To Bike) Oh. Going, Bike? 
Good-bye and don’t forget—whose boy you are. 
(They silently shake hands and Bike exits Right.) 

Liza Ann. Oh. Mother we had such a lovely 
time. Father took me to Miss Clark’s wedding. 
I didn’t know weddings were so lovely. Father 
asked the man something and he said he would and 
then Miss Clark said something. And they took 
hands—Give me your hand so I can show Mother 
how they did it—and they kissed (Rev. John gives 
her one hand and they stand one on each side of 
Liza Ann) each other and everybody was so happy 
that they cried. (Rev. John and Prudence kiss 
each other over her head) Oh. Now I have a 
Father and Mother of my own. 

(They all how to front.) 


THE END. 







LIBRARY 





